Molly Marinik (co-founder)
Molly Marinik (she/her) is a dramaturg specializing in new play and musical development. She has developed new work at the Atlantic Theater, Alliance Theatre, New Victory, All for One, The Flea, 59E59, Barefoot Theater Company, NYMF, Musical Theater Factory, and many others, including Alchemation/Kevin McCollum, where she worked as literary consultant. Molly proudly served on the subcommittee for the Philip Seymour Hoffman Relentless Award for its first four seasons. She’s been a reader for organizations including Page 73, The O’Neill NMTC, Barrington Stage, Village Theatre, Jewish Plays Project, and others. As artistic associate with Beehive at Musical Theatre Factory, Molly co-moderated the Women/Trans/GNC Roundtable. She has also facilitated PlayGym classes at Luna Stage in NJ.
In addition, Molly uses her dramaturgy background in her work as a grant writer and non-profit fundraiser. She’s currently the Director of Grants and Development Communications at McCarter Theatre Center in Princeton, NJ. Previously, she was the Grants Coordinator at Atlantic Theater Company (among many other roles over the years) and for LMDA. Molly holds an MA in Theater History and Criticism from Brooklyn College.
SPECIALTIES
New plays, new musicals, movement-driven work, early drafts, historical research, script reading, scouting.
RECENT SELECTED WORK
- Dust and Shadow by Jonathan Reid Gealt (music), Kasey Marino (book), Dustin Sullivan (lyrics). In development with Amanda DuBois, Alliance Theatre.
- Fallout, the musical by Dmitry Koltunov (book/music) and David Goldsmith (book). In development with Kevin McCollum/Alchemation.
-Monsoon Season by Lizzie Vieh. Produced by All for One at Rattlestick, Edinburgh Fringe Festival.
RECOMMENDED BY
"Molly has been an incredible partner in the writing process, and our work has led to an evolution of the piece, which I could never have achieved alone. She understands dramaturgy from both the technical practice as well as the psychological relationship that is required to create emotional safety for art to be challenged and grow. She understands the writer’s intent with a masterful intuition and asks piercing questions without forcing solutions. She is incredibly organized in her schedule and measured with her questions, allowing the work to maintain momentum and the team to stay on track. Molly also understands that great art colors outside the lines but acknowledges that those lines exist and uses them to track discussions. She has helped me achieve a new level of artistic maturity, and the work has gained polish without loosing character or grit. I never thought about working with a dramaturg prior, and now I can’t imagine working without one."
—Dmitry Koltunov, composer and book writer/lyricist
"I've worked with Molly on a number of different projects, and her contribution as a dramaturg is consistently invaluable. She is able to focus on the subtle details of moment and character, while never losing sight of the big picture and overall arc of a play. Her collaborative approach keeps the often challenging process productive, fun, and inspiring."
—Scott Katzman, playwright
"Molly helped me find and shape my play, but she exceeded my expectations of a dramaturg by bringing her considerable intuition and emotional intelligence to the project. She was able to read the room and the abilities and needs of the actors, help me to dig deeper into my characters, and was comfortable relating her own personal experiences on the subject matter; all of which helped to move the play to a more fully realized place on the page and in performance."
—Heidi Armbruster, playwright and actress
"Molly Marinik is a very special dramaturg. Her unique background in movement and directing allow her to dramaturg from both a visual and a textual perspective. I worked with her on a play by a first-time playwright, and she pushed him through 14 different drafts of his script. And he had a smile on his face the entire time."
—Benjamin Kamine, director
What I want to see from the theater world post-pandemic:
From the industry, I hope to see a sustained commitment to anti-racism and a real dismantling of the practices that are based on a system of white supremacy -- and a reimagining of how we make theater in a way that is equitable and fair. From the art, I hope to see work that takes risks and shouts from the rooftops.
A great book I read recently:
“We Play Ourselves” by Jen Silverman
“Decolonizing Wealth” by Edgar Villanueva (really for anyone who works in a system that participates in non-profit fundraising)
Most interesting non-theater job I've done:
Working at my family's independent record store when I was growing up
Favorite recent shows:
Contemporary Musicals Edition! A Strange Loop (Broadway); Six (Broadway); Ride the Cyclone (McCarter)
Some things I like to do in my free time:
With two kiddos at home I don’t have much “free time” but if we're dreaming big here, I like to read recreationally, do yoga/pilates/ballet, listen to podcasts about politics and behavioral economics, and watch as much of the really great TV out there as I can (it’s the golden age, after all). I aspire to someday have a much more exciting answer to this question.
Favorite script-reading/artist meeting spot:
On a warm day: outside in the sun. Any day: at a bar with a good drink and a well-behaved, bustling crowd around me.